The “Misdiagnosis Of Chyvonne Johnson” is an ode to Lauryn Hill’s “The Miseducation of Lauryn Hill'' and moves to explore similar themes in the shape of love, loss and frustration. It does also represent a true exploration of self through TrueMendous’ own lens as a slew of monologues punctuated by candid questions are included in a multitude of the tracks within the album, to address both prominent and almost hidden character flaws which are championed with the same breath that others are recognised as faults. This project does however present a subtle departure from her inspirators work as Lauryn Hill’s work was a declaration of independence and a love letter to her liberated self whereas TrueMendous puts forward a project that shines the light on glaring elements of dependence that are still present within her life.
The instrumentation and use of melody within this album steadily departs and realigns with the lyricism at intermittent segments, as the funky and mid-tempo riffs used within “You Don’t Like Me Because” to discuss themes of self confidence and self-assurance can be seen to be again utilised again within the track “Moodring” which discusses internal disorientation. A variety of genres are however utilised as classic Hip/Hop beats “Emmett Till” , sombre R&B beats “Free Food” and experimental trap beats “Crying of Laughter” lay present within the same project as a diverse collection of melodic spaces are utilised to portray the themes within this album.
Constant escape from dependence is sought throughout and this notion can be seen to be present from the offset as “Cause a Scene” is laced in self affirmations and glowing self confidence, this is punctuated by the following line “Run me my flowers while i'm still here or I'm going to cause a scene” as TrueMendous recognises her own ability; and her frustration in the inability of others to do as such cultivates emotions akin to those in the words above; the instrumentation is also telling as an ensemble of crashing noises and punk rock screams are included to perfectly reflect the forthright nature of her lyricism. “You Don’t Like Me Because” establishes similar ideas as this track is doused in self-assurance as lines such as “No validation needed from a tick” and “You don’t like me because i’m the sh*t” immediately protrude, as TrueMendous’ ability and her respective confidence in that ability reverberate around much of this album.
The simultaneous grasp both independence and dependence have over her play out through a majority of this project as TrueMendous’ attempted deflection from one extreme can at times lead her to the palm of the very other. The track “Crying of Laughter” provides evidence of this disconcertment as over pensive instrumentation made up of trap hi hats and a staunch base discourse is brought forward with regards to the frustrations of the end of her relationship and this line of discussion is laced with questioning and thin veiled threats. Questions such as “Am I your biggest regret or not'' and resounding remarks such “Now you don't even call” are also evident but the track's slogan of “Crying of laughter because I will not cry over you” is a far-cry from the aforementioned words. “Y” ft Kofi Stone presents similar themes as the above-mentioned “Cause A Scene'' as this can be seen to be a track of self affirmations whilst simultaneously also being an indirect-direct appeal to a former lover as her repeated defiance against external validation is seen to face staunch subconscious rebuttal as persistent check ups provide evidence of attachment. This can begin to bring forward ideas of internal destabilisation as rationale is continually sought with respect to permanent lines of both thinking and action.
The ideas of internal destabilization fully play-out within both “Moodring” and “Tick The Box”. “Moodring” moves to display deeply opposing variations of character as blame is offered and accepted by TrueMendous in the same breath. A host of character modifications are also put forward to her former partner with regards to elements she could change about herself and these are punctuated by both disapproval and frustration from her former partner. “Tick The Box” can be seen to relinquish the distinction of identity to other parties which creates further foundations for disorientation in identity as elements of TrueMendous’ character are questioned further in an introspective evaluation of herself.
The less flattering elements of the demise of relationships take center stage within this project also as TrueMendous perfectly reflects the carnage and internal disarray the collapse of long term union represents. A barrage of insults are evident within “Worst Child” as TrueMendous discusses the lack of attention she receives from her former partner alongside the almost counterfeit existence she possesses as a series of remarks picking apart her personality are brought forward. “Petty You, Petty Me” accentuates the ideas of pain and sorrow in parting as TrueMendous’ tearful delivery offered an almost candid confession of her bondage to her former partner whilst simultaneously admitting to still supporting her former lovers work. She also went on to state “Pain is easier to manage when you give some to someone else” which alludes to ideas of dependence being placed within the realm of separation, thus creating large degrees of difficulty with the ability to move on. “V.I.R.A.L” and “Selfish Behaviour” address similar lines of discussion as the former delves into the extreme nature TrueMendous’ former partners recluse as only death is said to garner any degree of attention from her direction and the latter moves to compound the ever-present theme of attachment in separation as the line “Whenever you’re ready to leave me , I'm coming too” provides an adept summation of the sentiments present within the track.
TrueMendous’ knowledge and precise use of cultural staples allowed her to address themes from a nuanced perspective as “Spirit and Breanna” played on the identities of characters from the show “One on One” as a strong relationship (Spirit and Breanna) was used as the foundations for TrueMendous to lament on the frustrations she felt towards her former partner. The track “Emmett Till” served a similar purpose as the widely publicised murder of Emmet Till provided the backdrop for an enssemble of references to the heinous nature of the trial and law enforcements ease in distorting justice as TrueMendous was able to assume characters of power to potentially compensate for that of which she was bereft of in actuality.
“Yvonne's Daughter” provides a chilling conclusion to an enigmatic and ruminative album as TrueMendous reflects on the culmination of her identity and how this has been impacted upon by her mother. Calming instrumentation and subtle horns lace the melodies as reminiscence coats the lyricism with the line “I do love you but I don’t like you” used within this track accurately moves to embody the relationships referenced within this project.
Comments